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A Wise Bird Making a Change

Today brings the return of one of our most popular recurring features, Richard Gehr’s “Know Your New Yorker Cartoonist” column. Today, he talks to George Booth, and here’s a sample:

GEHR: Tell me how you came to work on Leatherneck while you were in the Marines.

DIONE BOOTH: I think you could title this piece, “Always Faithful.”

BOOTH: Just like I wanted to please my folks with that clarinet, I worked at the print shop until I left Fairfax and went into the Marine Corps. My folks stood with me in June of ’44, when I volunteered. I’m signing the contract and staff Sergeant Harry K. Bottom…

GEHR: Unfortunate name.

BOOTH: I don’t have any trouble remembering it. Harry K. Bottom asked, “What do you want to do in the Marine Corps?” We were fighting Japan at the time, and I said, “I want to draw cartoons.” Logical thing. And he wrote it down; he had to. Two years later, I’m out in Pearl Harbor waiting to go home after VJ Day, because every G.I. in the world is going home. I’m sitting in the Quonset hut, and a telegram came to headquarters saying that PFC Booth can come to Leatherneck magazine as staff cartoonist. They were losing all of their staff, and they’d looked in the file and saw that I wanted to draw cartoons. They said I could come to Washington provided I reenlist at the end of the war. Well, I could go back to Fairfax, too. But I knew what that was like: I would go back there and get a job in a printin’ office, operating a linotype, and probably never get out of there for the rest of my life. So I said I’d reenlist. And the other Marines would bring their buddies back, six and seven at a time, to look at the geek who was going to reenlist. They stared at me like they couldn’t believe anybody would do that. They were so sick of the war. So I gambled and went to Leatherneck. I was recalled in December of ’50. I went to Camp Pendleton again, and Commandant Shepherd called me back to Leatherneck a second time. So it paid off for me. It was my education.

DIONE: It was a gamble, though.

Elsewhere:

—Tom Spurgeon remembers Stan Lynde.

—TCJ.com columnist and noted Kirby scholar Charles Hatfield writes about the latest Kirby/Marvel court decision:

Here is the basic, bare-knuckle truth, not to be parsed out of existence by legal hair-splitting or the revisionist application of a law that postdates the works at issue: there is nothing in work-for-hire law that can account adequately for the facts of Jack Kirby’s foundational, indispensable, and still generative contributions to Marvel.

—I don’t follow retailer issues as closely as I should, but it seems noteworthy that prominent retailer Brian Hibbs, in the comments to the angry-at-DC post I linked to last week, has announced his resignation from ComicsPRO, related directly to their handling of “recent DC moves”. Another retailer with a popular online presence , Michael Sterling, has a note on his experiences with the DC 3D-cover allocation here.

—Tom De Haven writes about the 75th anniversary of Action Comics #1:

In the early years, in the years when Jerry Siegel and Joe Shuster shaped his adventures, Superman contended with, and blocked, corrupt politicians and lobbyists, venal munitions dealers, cynical manufacturers of unsafe automobiles, greedy exploiters of mine workers and factory workers, and the tormentors of ordinary working men and women driven to the brink of despair and suicide by the seemingly untouchable forces of Big Money. But even though his social activism was toned down later, by corporate fiat, Superman has continued to practice philanthropy, not for the tax deduction but for the satisfaction of helping others in need. Period. And I feel sure he’d be mortified and embarrassed by any offers of a Lifetime Achievement Award.

—Siegel & Shuster biographer Brad Ricca offers evidence that Joe Siegel used at least one ghost writer to help in the early years of Superman.

—Gerry Conway clarified and expanded upon his recent panel comments about sexism in the comics industry.

—Rob Salkowitz comments on last week’s somewhat unsettling profile of Mark Millar in The New Republic.

—Artist Tom Scioli reflects on the end of GØDLAND.

—J.J. Sedelmeier has a bunch of early Dr. Seuss work.

—Tom Spurgeon interviews Steven T. Seagle.

—Matt Haig at The Guardian reviews Ellen Forney’s Marbles.

—Finally (via CW), Jean Giraud and Jijé:

 

Windy

Today on the site Rob Clough reviews The End Of The Fucking World.

Originally published as a series of short minicomics through his own Oily Comics micropublishing concern, Chuck Forsman’s The End Of The Fucking World (TEOTFW) is an incredibly assured debut for an artist who’s been making huge strides since graduating from the Center for Cartoon Studies. Given how many excellent minicomics he’s made (especially in his Snake Oil series), I hesitate to call this book a “debut”, yet for many it will be their first exposure to Forsman’s work. Forsman’s main storytelling interests revolve around the aimless, most especially teenagers as they react to their parents. He has a knack for giving voice to a certain sense of ennui and desperation for connection and meaning, yet manages to do so in a way that avoids navel-gazing and static storytelling.

Elsewhere:

Marvel won a summary judgement against the Jack Kirby heirs.

This article is a depressing reminder of a vastly popular corner of comics, and its attendant opinions.

And in better news, musician and really great, overlooked cartoonist Michael Hurley is getting  voluminous coverage in the new issue of Arthur. It’s good to see something like this happen, and a reminder that there are still “discoveries” to be made.

Have a good weekend.

 

Color Blind

It feels good to have Frank Santoro back on the case. Today he continues to cover comics that have fallen through the cracks, and finding valuable material about the technical aspects of comics production even for those who might not be interested in these particular comics on their own. He also takes a look at early, indie-era Ed Brubaker:

I think the Beto and Chester influence in Brubaker’s early work is cool. I’m not trying to make a joke here. Have you ever read Lowlife? It’s interesting to see Brubaker change as he was making this early work. It’s like you saw the writer in there but weren’t sure how all that was going to come out. Brubaker seemed to work through his influences and then found his own voice on the other side – he didn’t try and sidestep them.

Elsewhere:

Rick O’Shay creator and Western cartoonist Stan Lynde has passed away. The Washington Post has an obituary. We should have more coverage soon.

—Lots of DC-based discussion out there right now. J. Caleb Mozzocco gathers up recent reviews and think-pieces on the company’s current creative direction. Robot 6 picked out the perfect quote (“We publish comics for 45-year-olds” — so that’s why I’m not into them lately — I thought I grew out of them, but they outgrew me!) from Paul Pope’s appearance at San Diego. Retailer Brian Hibbs is angry, and goes on at length, about the “staggering incompetence” of DC’s cover promotion for their upcoming “Villains Month”. For more vintage DC talk, see Marc Nobleman’s just-posted 2006 interview with the late Batman artist Lew Sayre Schwartz.

—In non-DC superhero news, The New Republic has an informed profile of the you-say-provocateur-I-say-troll comics writer and Kick-Ass creator Mark Millar. Noah Berlatsky comes around to at least one of Daniel Clowes’s comics: The Death-Ray. And Sarah Horrocks writes about how the state of the industry has affected professional colorists for the worse.

—I missed Hillary Chute’s essay comparing comics to poetry in Poetry magazine.

—Deb Aoki flagged a video of Osamu Tezuka biographer Helen McCarthy giving an 8-minute lecture on the history of manga.

—Chester Brown’s Paying for It features pixilated genitalia in the Indian version, and Devika Bakshi explains why in Open magazine.

—Jeffrey Gustafson writes about the ambitious “Time” webcomic from Randall Munroe.

—Columbia librarian Karen Green talks about her experience teaching a comics-as-literature class.

—And academic Paddy Johnston has a video slideshow examining the digital comics of Chris Ware (via):

 

Abiding

Today Paul Tumey continues his deep dive into the Lost Comics of Jack Cole.

As he was making his regular rounds in 1937 to the offices of various New York magazine publishers, selling a few cartoons here and there, Jack Cole may have begun to realize he needed to widen his scope in order to make it as a cartoonist. Fortunately for Cole, he was in the right place at the right time. A massive new market for cartoonists was opening up – the comic book. Originally a re-formatted book-like pamphlet reprinting of Sunday newspaper comics, the success of the idea generated such a growing demand that savvy entrepreneurs began to supply comic book publishers with original material.

One of these entrepreneurs was Harry “A” Chesler. His quirky, quotation-framed middle initial was an affectation, designed to make him sound more important. It’s said that Chelser sometimes told people the “A” stood for “Anything.” In 1935 or 1936, Chelser began congregating artists and writers into rented studio spaces and paying them small amounts of money to create material that he could then sell to comic book publishers, including Centaur, MLJ (later known as Archie Comics), Street and Smith, Fox and Fawcett. Some of the writers and artists who worked in the Chelser shops at one time or another went on to become legends in comics: Jack Binder (who later opened up his own shop), Otto BinderCharles BiroCarl BurgosLou Fine, Creig Flessel,Gill FoxFred GuardineerPaul Gustavson,Carmine InfantinoJoe Kubert,  Roy Krenkel,  Mort MeskinMac RaboyGeorge TuskaBob Wood, and – of course – Jack Cole.

Elsewhere, many things at once:

I liked this post about the perpetually underrated Chris Reynolds.

Paul Karasik’s graphic reporting has been very rewarding, like this one.

Don Simpson covers our own Frank Santoro.

Benjamin Marra has announced a new, very fun looking comic.

And Mick McMahon is my favorite 2000 AD artist, in case anyone asks.

 

 

 

 

 

Beneath His Powdered Wig

Today it’s time for Joe McCulloch’s helpful guide to the Week in Comics. As usual, before he gets to the service-oriented portion of his column, Joe takes the time to examine one of the more esoteric byways of comics history, and this time, he goes even deeper into the weeds than usual:

Published in 2007 by the Arbor vitae in association with art agency Taktika Muzika — an exhibition of the 322 photographs taken for the book toured at the same time — Cecil’s Quest is a very lovely 10.5″ x 8″ landscape-format hardcover, probably conceived as an art book as much as a comic, though it is certainly not a mere catalog of photographs. I am unaware of any prior comics works by Skála, though he has illustrated some children’s books, and is doubtless aware of the storytelling capacity of images arranged in a sequential manner. He appears to have done basically everything involved with the creation of the book alone, from the building of models to the shooting of photographs, probably including the English-language lettering, although a translator (Robert Russell) is credited, as well as a lithography studio which aided in the graphic design and (presumably) the physical development of the photographs.

Elsewhere, there are ten million links:

—Interviews. Alex Deuben interviews Kim Deitch, Inkstuds interviews Dash Shaw, Hero Complex interviews Wolverine co-creator Len Wein about the new movie, the New York Times asks New Yorker cartoon editor Bob Mankoff about his cultural interests, Houstonia magazine talks to Terry Moore, Benoit Peeters and François Schuiten talk to Naoki Urasawa (!), and the Paris Review blog talks to Lisa Hanawalt. Whew.

—News. The Billy Ireland Library has announced a potentially major new comics show, and the Sequential comics app from the UK has now launched in the U.S. and elsewhere.

—Uncategorizable. Faith Erin Hicks draws a diary strip from her time as a guest at Comic-Con, noted garbologist Tom Devlin digs through Michael DeForge’s trash, Tom Scioli revisits the work of Barry Windsor-Smith, Sam Henderson relaunches his website, Chris Mautner reviews the latest Mickey Mouse collection, and Frank Zappa collaborates with Robin, the Boy Wonder.

 

Slow Speed

Today on the site: Ryan Holmberg on a comics cafe in Mumbai:

“It’s in the suburbs,” I was told. But what this means in Mumbai is not what it means in the States. Despite the unpleasant realities of sprawl in America, there is still a lingering notion that the ‘burbs are between town and country, combining the best of both: convenience without crime and congestion, green and fresh air while still being plugged into the grid. Not so in Mumbai, where suburbs means, simply, at the fringe of municipal limits and, more importantly, relatively affordable real estate. It does not mean freedom from big city troubles, for while things might be more spread out in the Mumbai suburbs, with more big leafy green tropical trees, the traffic is worse than in town and the roads are a permanent wreck.

I begin with this to preemptively dissuade readers from thinking of Leaping Windows – India’s first comics café, located in Versova, near-ish the sea just northwest of the large and tangled “suburb” of Andheri – through the clichéd American lens of “comics in the suburbs.” Leaping Windows is very much an urban institution. Were it not, it could not exist. Despite being geographically inconvenient for most of Mumbai’s population, Leaping Windows has done well enough to inspire a second outlet in Bangalore. This is thanks to a diversified business model. It not only has a café with a full menu, free wi-fi, and a quietish place for locals to come and chat or work. It also has a library with a collection of some 2,000 comic books (counting only the trade paperbacks and graphic novels) that you can use for 30 INR an hour (that’s 50 cents in your Richie Rich dollar). It also has a membership program through which comics can be borrowed, delivered straight to your door (4500 INR for a one year, approximately 75 USD).

Elsewhere:

A chunk of Jeet Heer’s forthcoming book about Francoise Mouly is now online.

Also from Jeet, “a precursor to Steinberg?“.

This is an amazing set of Jack Kirby photos.

And Tom Spurgeon has some stats on young cartoonists.

 

 

Numbers Game

Today on the site we herald Tucker Stone’s return.

Elsewhere, it’s an all superhero + The Property links edition.

First, The Property — a book I enjoyed very much. It’s reviewed here and here.

Douglas Wolk writes about Before Watchmen; The Beat mentions it, and wacky comments ensue.

The “best” superhero/etc. covers of July courtesy of Paste.

Finally, I always have a soft spot for The Micronauts.

 

A Great Topic For a Panel Discussion

It’s Thursday, which means it’s Frank Santoro Riff-Raff day. This time, he reviews two new releases (Mare Odomo and Lala Albert) from Sacred Prism, and recaps last weekend’s Philly Alt Comic Con, which apparently included a lot of moments like the following:

Long, involved, raging conversations about Tony Wong were applauded, wait—that was just me talking loudly to no one in particular, I believe. The sound of one hand clapping.

We also have audio from Mark Waid’s interview of Russ Heath at San Diego.

Elsewhere, I only have three links, but they’re all good ones:

—First, Nat Gertler has an excellent historical post on the how and why behind Charles Schulz’s introduction of the character Franklin to Peanuts.

—Then, ICv2 has a two-part interview with DC co-publishers Jim Lee and Dan DiDio. Turns out that despite what you may have heard about battles between editors and creators, fleeing creators, imploding Vertigo, etc., everything there is totally great right now.

—And finally, a half-hour interview of the great caricaturist Al Hirschfeld, conducted by Art Spiegelman in 2001 (via):